Star Wars confirms that Wilco now fully own a unique American noise wherein nothing is wholly traditional or wholly experimental. But if the band’s own sense of self is stalwart, the characters they detail are consistently unmoored.

A gently rambling rumination twinkling with congas, shakers and bird-like flute. [Oct 2019, p.92]

Kamaru's softly spoken words amid Arkives' discomfiting drones drags listeners to unexpected depths, his voice a ghost in a machine of otherworldly chorale, siren-like synths and heaps of static. [Aug 2024, p.87]

Its uvowedly less manic, but uknowhatimsayin¿ still cuts deep. [Nov 2019, p.93]

It's music for dreaming, the keyboard equivalent to shoegaze, reinforced by its song titles and vocals mostly mixed beneath the waves to gorgeously woozy effect. [Sept. 2011, p. 97]

J's mature-era peak continues. [Sep 2014, p.90]

This is a swaggering, unashamedly fun pop record. [May 2005, p.94]

Lustman's been musing on the conflict between the intimate, solo nature of his music making and the shared listening experience of his audience on dancefloors. Lustman's solution is the intimate, expansive Heaven Is for Quitters. [Dec 2016, p.93]

Slow, stark tracks like Kick-Around Johnny sound like a spun-out, confessional Lou Reed, and there's epiphany too: I Came To Tell You In Plain English (I'm Leaving You) is casually devastating. [Jan 2021, p.90]

Murray's voice is a beautiful, dreamy magnet for Hughes's backdrops, which without losing their twang take all sorts of tangents. [Feb 2021, p.85]

There's all kinds of going back on Robbie Fulks' eleventh and maybe finest collection. [Oct 2013, p.95]

The overriding tone recalls Lana Del Rey's gothic torch song elegies, albeit with far more economy and less overacting. [Dec 2015, p.93]

The most focused and exciting White Solo record yet, a precision-tooled digital reconfiguration of his rock bona fides. [May 2022, p.89]

It might have been captured anytime in the past four decades. [Jul 2006, p.114]

It's an irresistibly modern mix. [Dec 2018, p.89]

An album of great beauty and quiet power. [Jan 2016, p.91]

Ambient noise draws the threads of these songs together – distant chatter, the sound of rain – but it’s the night buses and pubs of Wonderlight that best catch The Night’s Victoria Segal muted glimmer. [Feb 2025, p.82]

Forsyth knows exactly how far to let out the line before returning to the earth's atmosphere, leaping forward, bringing it home. [Sep 2022, p.95]

More a shiny recalibration of TVOTR's high-density art rock than a radical restart, especially of their more electronic, funky and pop-facing side. [May 2025, p.90]

A classy and elegant piece of work. [Jun 2017, p.93]

Deceptively simple-sounding, beautifully constructed folk songs. [Jun 2017, p.95]

Both otherworldly and intensely human, it's hard to resist THEESatisfaction's singular charms. [Apr 2015, p.95]

An album of dark beauty and unnerving enchantment. [May 2016, p.93]

Their strong suits are Nathan Nicholson's forlorn warble and the pop hooks that pepper quiet melodramatic, minor-chord rock songs like Locked In The Basement. [Mar 2011, p.98]

There's a weight and scale reminiscent of Ingram Marshall's epic sea-mist tone-paintings. [Apr 2014, p.95]

Occasionally ground down in the past with the sheer weight of sadness, here Songs:Ohia sound defiant, uplifting, and never better. [Apr 2003, p.102]

This a masterful, emphatic stuff, brimful of poignant insights and unforgettable melodies. [Jun 2014, p.92]

Their most corrosive cocktail yet of melodious sunshine pop and blackly comedic lyrics. [Mar 2023, p.85]